| Date: 14 April 2011, 06:45
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While I am an avid fan of Terry Goodkind and I await each book with some anticipation, I must admit that this book was a little...windy (forgive the pun, please). The beginning was a little slow, and was it just me or did anyone figure who the sicko was w/in the first 5 lines of the first murder scene? The evidence was placed in this person's belongings too soon and the excuse they made was a little pathetic. Couldn't the evidence have shown up later in the book, just to sort of throw the reader off, and delay the eye-rolls?
Anyway, there were also sappy love scenes that sort of made me want to put the book down. I understand Goodkind may have been trying to evoke some sympathy for Richard and Kahlan's frustrating (and overly drawn out) wait to complete and consummate their love, but the stolen-kiss scenes sort of dripped with sap. Also, Richard's dealings with Kahlan and with the lords and delegates from different countries were a little drawn out and preachy. His long philisophical explanations, and Goodkind's seeming need to continuously refer us to Richard's "raking raptor gaze" and Kahlan's "sparkling green eyes" and tight, white, regal Confessor's dress, get repetitive and you end up skipping large chunks of the dialogue. The stubbornness of the main characters will at times frustrate you, and after all the waiting and yearning and restraint the main duo has endured, how could the writer snatch away the sanctity of their first union by turning it into such a horrid experience? It was so terrible, it worked. That part just killed me...
But after all this passes, the book begins to pick up and roll with the formula that made Goodkind's first book such a riveting story. He did a good job at evoking irritation and murderous inclinations towards a new character, Nadine. There are parts that draw out giggles and appreciation for the humorous and angry sides of Richard's loving personality and seemingly deep well of patience with stupid or insipid characters. And again, I must stress that, for the typical female, Nadine will boil your blood. The scenes involving the sick children and some of the characters close to Richard dying, were just enough to make me misty-eyed (I am a sucker for well-described death scenes).
It also made you appreciate the love, devotion, and trust in the developing relationship between the Mord-Sith (mostly Cara and Berdine) and Richard. The overall story is good and you're able to forgive some of the flaws in this book. Richard is still one of the best characters developed in any science fiction I ever read. Goodkind makes him a handsome, strong, sensible, likeable, and intelligent hero, but at the same time he allows Richard to make mistakes, admit to them, and learn from his mistakes, without making apologies and enemies. In other words, a man that will never exist in real life.
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